How Mexican Cowboys Are Remapping Race and American Identity
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Calf Roping Chute MODEL RCCALF & RCCALFA
www.priefert.com 800-527-8616 Calf Roping Chute MODEL RCCALF & RCCALFA Operator’s Manual Safety related warnings and instructions follow this Alert Symbol and are used to get your attention so you may avoid serious injury or death to you and others. Read the Operator’s Manual in it’s entirety! OPMAN-RCCALFA_V2-0620 Congratulations on choosing “Priefert’s RCCALF Using this manual: or RCCALFA Remote Controlled Calf Roping Chute.” These Operating Instructions are a compilation of engineering data This chute incorporates many of the same features as our industry and field experience, and are designed to help you with proper safety, leading RC98M and RC98AI chutes used at thousands of practice operation and adjustments. Read these instructions completely prior to arenas, steer ropings and rodeos events across the country and abroad. using this roping chute, and follow the recommendations to help ensure safe and efficient operation. Two models of RCCALF chutes are specifically directed at those who like to focus on calf roping. In the fully automatic mode of the RCCALFA, The information contained herein was current at the time of printing. the operator can set in motion the release of the calf from the chute Your model may vary in design and configuration from those shown in and the loading of another by simply pushing one button. If preferred, this manual. There is a possibility that some illustrations in our manuals you may still use the 4 buttons on the remote control to command all were of prototype models. Design of production models may vary in actions of the chute yourself. -
Central Kansas Youth Rodeo Association Rulebook 2017 Rodeo Times & Dates All Rodeos Will Start Promptly at 9:00A.M
Central Kansas Youth Rodeo Association Rulebook 2017 Rodeo Times & Dates All rodeos will start promptly at 9:00a.m. Saturday / 9:00a.m. Sunday CKYRA Finals will start at 9:00 a.m. both days ORDER OF EVENTS Sheep Riding, Calf Riding, Steer Riding, Bull Riding, Dummy Roping (Runs in the arena in front of West roping boxes), Bareback Steer Riding, Chute Dogging, Saddle Bronc Steer Riding, 2-4th Breakaway Sled Roping, Breakaway Calf Roping(2-4th, 5-8th, 9-12th), Ribbon Roping (5-8th, 9-12th), 5-8th Tie-Down Sled Roping, Tie Down Calf Roping (5-8th, 9-12th), 2-4th Breakaway Steer Roping, Team Roping (Heading 5- 8th, 9-12th, Heeling 5-8th, 9-12th), Goat Tail Untying: 1ST GRADE & UNDER, Goat Tying 2nd-4th Grade, 5th-8th Grade*, 9th-12th Grade Girls Only Pole Bending: 1ST GRADE & UNDER, 2nd-4th Grade, 5th-8th Grade Girls Only, 9th-12th Grade Girls Only Barrel Racing: 1ST GRADE & UNDER, 2nd-4th Grade, 5th-8th Grade Girls Only, 9th-12th Grade Girls Only Sunday. Boy/girl order will then be reversed at each rodeo. CKYRA Finals Eligibility Each Contestants must qualify to enter the finals. Each contestant must compete in 6 prior rodeos per event and be a member in good standing to qualify. Each Contestant must enter and participate in the finals to be eligible to receive awards. If contestant is unable to compete at finals do to a uncontrolled situation, awards will be given at the board discretion on a case by case basis. Finals Entries need to be turned in and paid by the end of the rodeo previous to the Finals Rodeo (Checks will be cashed prior to Finals weekend). -
77Th March 12, 2013 0130 PM
MINUTES OF THE SENATE COMMITTEE ON NATURAL RESOURCES Seventy-Seventh Session March 12, 2013 The Senate Committee on Natural Resources was called to order by Chair Aaron D. Ford at 1:33 p.m. on Tuesday, March 12, 2013, in Room 1214 of the Legislative Building, Carson City, Nevada. The meeting was videoconferenced to Room 4412E of the Grant Sawyer State Office Building, 555 East Washington Avenue, Las Vegas, Nevada and to Great Basin College, Lundberg Hall, Room 114, 1500 College Parkway, Elko, Nevada. Exhibit A is the Agenda. Exhibit B is the Attendance Roster. All exhibits are available and on file in the Research Library of the Legislative Counsel Bureau. COMMITTEE MEMBERS PRESENT: Senator Aaron D. Ford, Chair Senator Mark A. Manendo, Vice Chair Senator Tick Segerblom Senator James A. Settelmeyer Senator Pete Goicoechea GUEST LEGISLATORS PRESENT: Assemblywoman Lucy Flores, Assembly District No. 28 STAFF MEMBERS PRESENT: Michael J. Stewart, Policy Analyst Brenda Erdoes, Counsel Patricia Devereux, Committee Secretary OTHERS PRESENT: Mitch Schneider Christine M. Schwamberger, Esq., Nevada Political Action for Animals Beverlee McGrath, American Society for the Prevention of Cruelty to Animals, Best Friends Animal Society, Nevada Humane Society, Northern Nevada Society for the Prevention of Cruelty to Animals, Nevada Political Action for Animals, Lake Tahoe Humane Society & Society for the Prevention of Cruelty to Animals, Pet Network of Lake Tahoe, Wylie Animal Rescue Senate Committee on Natural Resources March 12, 2013 Page 2 Foundation, -
The Songs of Mexican Nationalist, Antonio Gomezanda
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-5-2016 The onS gs of Mexican Nationalist, Antonio Gomezanda Juanita Ulloa Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Ulloa, Juanita, "The onS gs of Mexican Nationalist, Antonio Gomezanda" (2016). Dissertations. Paper 339. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 JUANITA ULLOA ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE SONGS OF MEXICAN NATIONALIST, ANTONIO GOMEZANDA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juanita M. Ulloa College of Visual and Performing Arts School of Music Department of Voice May, 2016 This Dissertation by: Juanita M. Ulloa Entitled: The Songs of Mexican Nationalist, Antonio Gomezanda has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Visual and Performing Arts, School of Music, Department of Voice Accepted by the Doctoral Committee ____________________________________________________ Dr. Melissa Malde, D.M.A., Co-Research Advisor ____________________________________________________ Dr. Paul Elwood, Ph.D., Co-Research Advisor ____________________________________________________ Dr. Carissa Reddick, Ph.D., Committee Member ____________________________________________________ Professor Brian Luedloff, M.F.A., Committee Member ____________________________________________________ Dr. Robert Weis, Ph.D., Faculty Representative Date of Dissertation Defense . Accepted by the Graduate School ____________________________________________________________ Linda L. Black, Ed.D. -
Approved Class List
FOUNDATION QUARTER HORSE REGISTRY SHOW DEPARTMENT APPROVED CLASS LIST Name_______________________________________________ Date(s) of Show____________________ Show CoorDinator _____________________________________Phone___________________________ Address___________________________________________City__________________________ ST___ Zip CoDe______________________ email__________________________ FQHR#__________________ Circle classes you will be having at your show. Conformation Classes Open 1058 – O LimiteD Horse Working Ranch Horse 3001-Y Mares All Ages 1059 – O LimiteD RiDer Working Ranch Horse 3002-Y GelDings All Ages 1060 – O Cow Horse Ranch Challenge 1001 - O Weanling Fillies 1061 – O Down & Back 1002 – O Yearling Fillies 1062 – 0 3-5 Yr OlD HerD Work 1003 –O Two & Three Year OlD Fillies 1063 – O 3-5 Yr OlD Ranch Pleasure 1004-O Four to Ten Year OlD Mares 1064 – O 3-5 Yr OlD Ranch Reining Performance Classes SR Youth 1005-O AgeD Mares 11 & Up 1065 – O 3-5 Yr OlD HanDy Ranch 0024-O BrooDmares 1066 – O 3-5 yr olD Limited Working Cow Horse 3003-Y HanDy Ranch Horse 1006-O GranD & Reserve Champion Mare 1067 – O 3-5 yr olD Limited Working Ranch Horse 3004-Y Ranch Reining 1021-O Yearling GelDings 3005-Y Working Ranch Horse 1007-O Two & Three Year OlD GelDings 3006-Y Breakaway Calf Roping 1008-O Four to Ten Year OlD GelDing Performance Classes Amateur 3007-Y Western RiDing 1009-O AgeD GelDing 11 & Up 3008-Y Barrel Race 2001-A Handy Ranch Horse 1010-O GranD /Reserve Champion GelDinng 3009-Y Pole BenDing 2002-A Working Cow Horse 1011-O Weanling -
Thinking Gender 2012
THINKING GENDER 2012 Performative Metaphors: The "Doing" of Image by Women in Mariachi Music. Leticia Isabel Soto Flores In music studies, scholars have often explored music as a metaphor for emotions, thoughts, and life. In the 19th century, music critic Edward Hanslick recognized the inherent metaphorical sense of musical discourse. As he stated in 1891, "what in every other art is still description is in music already metaphor", (Hanslick 1986: 30). When verbalizing what music is, from representation to technique, one cannot avoid using figurative language, metaphors in particular, because a verbal description of sound is, of necessity, an interpretation. In the first case regarding metaphors in music, metaphorical language is used to describe music in relation to musical practice or music theory. These metaphorical descriptions have unavoidably succumbed to the ideological horizons manifested through language. Musicologist Susan McClary refers to this as gendered aspects of traditional music theory in Feminine Endings (1991), a founding text in feminist musicology. She states: "music theorists and analysts quite frequently betray an explicit reliance on metaphors of gender ("masculinity" vs. "femininity") and sexuality in their formulations. The most venerable of these—because it has its roots in traditional poetics—involves the classification of cadence-types or endings according to gender" (McClary 1991: 9). Musicians and music critics utilize the terms “feminine endings” and “masculine endings” to describe how a cadence ends, most without ever realizing that these metaphors perpetuate sexual difference through musical language. In mariachi music, a similar situation has manifested with the increasing participation of women mariachi musicians. As more and more women perform in mariachi ensembles, the songs traditionally in a vocal register for men are necessarily transposed to suit the female voice. -
The Following Event Descriptions Are Presented for Your Edification and Clarification on What Is Being Represented and Celebrated in Bronze for Our Champions
The following event descriptions are presented for your edification and clarification on what is being represented and celebrated in bronze for our champions. RODEO: Saddle Bronc Riding Saddle Bronc has been a part of the Calgary Stampede since 1912. Style, grace and rhythm define rodeo’s “classic” event. Saddle Bronc riding is a true test of balance. It has been compared to competing on a balance beam, except the “apparatus” in rodeo is a bucking bronc. A saddle bronc rider uses a rein attached to the horse’s halter to help maintain his seat and balance. The length of rein a rider takes will vary on the bucking style of the horse he is riding – too short a rein and the cowboy can get pulled down over the horse’s head. Of a possible 100 points, half of the points are awarded to the cowboy for his ride and spurring action. The other half of the points come from how the bronc bucks and its athletic ability. The spurring motion begins with the cowboy’s feet over the points of the bronc’s shoulders and as the horse bucks, the rider draws his feet back to the “cantle’, or back of the saddle in an arc, then he snaps his feet back to the horse’s shoulders just before the animal’s front feet hit the ground again. Bareback Riding Bareback has also been a part of the Stampede since 1912. In this event, the cowboy holds onto a leather rigging with a snug custom fit handhold that is cinched with a single girth around the horse – during a particularly exciting bareback ride, a rider can feel as if he’s being pulled through a tornado. -
Horse Show Schedule 15
East Region 4-H Horse Show District 4 and District 5 4-H members participating Henderson County Fair Park Complex – Athens, Texas – June 15-17, 2015 Monday, June 15, 2015 3:00 – 9:00 p.m. – Office opened for early arrival and early check-in Coliseum J.D. Lewis Arena 7:30 p.m. Barrels and Poles Exhibition 7:30 p.m. Jackpot Team Roping Arenas will close 1 hour prior to the show time Tuesday, June 16, 2015 6:30 a.m. – Office opens 7:00 a.m. – Registration opens Coliseum – 8:00 a.m. J.D. Lewis Arena – 8:00 a.m. Class 22 Tie Down Calf Roping Class 13 Hunter Showmanship Class 23 Breakaway Roping Class 14 Hunter Under Saddle Class 24 Team Roping Class 15 Hunt Seat Equitation Class 25 Working Cow Horse Class 33 Hunter Hack Class 26 Cow Boxing Class 16 Hunt Seat Versatility ====== 15 minute Futurity Warm-Up Class 30 Stock Horse Trail Class 21 3-year-old Futurity Reining Class 5 Western Trail Class 28 Reining ====== 30 minute Futurity Warm-Up 3-year-olds Class 32 Team Penning Class 21 3-year-old Futurity Trail ====== Mandatory Ranch Sorting Orientation Class 21 3-year-old Futurity Pleasure Pattern Class 40 Ranch Sorting Class 29 Stock Horse Pleasure Class 31 Stock Horse Horsemanship Wednesday, June 17, 2015 6:30 a.m. – Office opens 7:00 a.m. – Registration opens Coliseum – 8:00 a.m. J. D. Lewis Arena – 8:00 a.m. Class 1 Showmanship at Halter Time TBA 2-year-old Futurity Warmup Class 6 Mares 5 and Over Class 7 Mares 4 and Under Class 20 2-year-old Futurity Pleasure Pattern Champion and Reserve Champion Mare Class 20 2-year-old Futurity Versatility Class 8 Geldings 5 and Over Class 20 2-year-old Futurity Western Pleasure Class 9 Geldings 4 and Under Champion and Reserve Champion Geldings ====== 20-Minute Yearling Futurity Warm-Up Class 19 Longe Line - Futurity Class 18 Yearling Halter Filly – Futurity Class 17 Yearling Halter Gelding – Futurity Class 2 Western Pleasure Class 3 Western Horsemanship Class 4 Western Riding Class 10 Pole Bending Class 11 Barrel Racing Class 12 Stakes Race . -
Tanguery Swing
Hip No. Consigned by John Morlan Hip No. 277 Tanguery Swing 277 2013 Bay Gelding Peppy San Badger Peptoboonsmal { Royal Blue Boon Peptos Starfish { Grays Starlight Little Starfish { Tanguery Swing Docs Pompano 5585901 Justa Swinging Peppy Swingin Tanquery { Miss Tanquery Band Justa Special Girl { Smart Little Lena Lady Madelena { Jewels Madera NOTES: This gelding stands 15.1 hands and weighs over 1200 lbs. He rides around like a little horse and hits the ground like a cheetah. This is a real special 4 year old that has been a pleasure to own and train. He was bred by Randle Tune and foaled on the San Juan Ranch, and he is the goods. Whether you want a World Series horse, show horse or an NFR type horse, the sky is the limit for this big shapely gelding. He should be ready to haul to small ropings by sale day and will be shown on cattle. Buy with confidence, 100% sound and gentle. His new owner will love him. SIRE: PEPTOS STARFISH (2004). Halfbrother to LENAS STARFISH ($71,801 and 12 AQHA points: 5th AQHA World Junior Cutting Open), SMARTLITE ($52,914 and 51 AQHA points: finalist in the NCHA Open Super Stakes). Sire of PEPTOS SMARTY (ACHA moneyearner). Son of PEPTOBOONSMAL, $180,487. A Leading Sire. Sire of 880 RGP money earners, $25,962,587, earners of 6,620 AQHA points, including LITTLE PEPTO GAL ($523,742: NCHA Horse of the Year, NCHA Hall of Fame), COPASPEPTO ($476,376: NCHA Horse of the Year, NCHA Hall of Fame), ONE TIME PEPTO ($331,097: NCHA Open Super Stakes Champion), ONCE IN A BLU BOON ($319,002: AQHA World Champion Senior Cutting Horse), PEPTO BOOM ($308,369: 4th NCHA NonPro Top Ten twice; NCHA Silver Award), PEPTOS STYLISH MISS ($302,911: 4th NCHA Open Super Stakes), BOON TOO SUEN ($262,009: finalist in the NCHA Open Super Stakes; NCHA Silver Award), FRECKLES LENA BOON ($259,818: split 9th NCHA Open Futurity), SWEET LIL PEPTO ($237,783: Breeders Inv. -
Shorty's Yarns: Western Stories and Poems of Bruce Kiskaddon
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2004 Shorty's Yarns: Western Stories and Poems of Bruce Kiskaddon Bruce Kiskaddon Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation Kiskaddon, B., Field, K., & Siems, B. (2004). Shorty's yarns: Western stories and poems of Bruce Kiskaddon. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. SHORTY’S YARNS Western Stories and Poems of Bruce Kiskaddon Illustrations by Katherine Field Edited and with an introduction by Bill Siems Shorty’s Yarns THE LONG HORN SPEAKS The old long horn looked at the prize winning steer And grumbled, “What sort of a thing is this here? He ain’t got no laigs and his body is big, I sort of suspicion he’s crossed with a pig. Now, me! I can run, I can gore, I can kick, But that feller’s too clumsy for all them tricks. They’re breedin’ sech critters and callin’ ‘em Steers! Why the horns that he’s got ain’t as long as my ears. I cain’t figger what he’d have done in my day. They wouldn’t have stuffed me with grain and with hay; Nor have polished my horns and have fixed up my hoofs, And slept me on beddin’ in under the roofs Who’d have curried his hide and have fuzzed up his tail? Not none of them riders that drove the long trail. -
Introduction
Jean-Baptiste Maudet Terres de taureaux Les jeux taurins de l'Europe à l'Amérique Casa de Velázquez Introduction Éditeur : Casa de Velázquez Lieu d'édition : Casa de Velázquez Année d'édition : 2010 Date de mise en ligne : 8 juillet 2019 Collection : Bibliothèque de la Casa de Velázquez ISBN électronique : 9788490962459 http://books.openedition.org Référence électronique MAUDET, Jean-Baptiste. Introduction In : Terres de taureaux : Les jeux taurins de l'Europe à l'Amérique [en ligne]. Madrid : Casa de Velázquez, 2010 (généré le 02 février 2021). Disponible sur Internet : <http:// books.openedition.org/cvz/7704>. ISBN : 9788490962459. introduction I. — UNE AIRE CULTURELLE DE LA TAUROMACHIE La singulière diversité des jeux taurins La diversité des jeux taurins est méconnue du grand public. La raison tient à l’emploi même du terme tauromachie. En effet, ce terme fonctionne le plus souvent comme une représentation culturelle et subjective du fait taurin, et non comme un terme permettant d’identifier des pratiques de même nature. Dans sa version la plus caricaturale, la tauromachie est synonyme de corrida, relé- guant en arrière-plan la grande diversité des affrontements entre les hommes et les bovins qui sont pourtant tributaires d’une même analyse. Si l’on accepte de considérer que le taureau du mot tauromachie est un animal générique (les bovins auxquels les hommes se mesurent), alors la famille des pratiques tauromachiques s’agrandit considérablement. Comment justifier un tel regrou- pement ? La réponse est le fruit d’une observation factuelle : il n’existe guère d’autres espèces avec lesquelles les hommes se mesurent en des corps à corps violents au cours de spectacles publics d’une telle ampleur. -
Charrería, Nationalism, and Manly Relevance in Modern Mexico
CHARRERÍA, NATIONALISM, AND MANLY RELEVANCE IN MODERN MEXICO Angélica Castillo Reyna A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2018 Approved by: John C. Chasteen Kathryn Burns Cynthia M. Radding Miguel La Serna Jocelyn Olcott © 2018 Angélica Castillo Reyna ALL RIGHTS RESERVED ii ABSTRACT Angélica Castillo Reyna: Charrería, Nationalism, and Manly Relevance in Modern Mexico (Under the direction of John C. Chasteen) This dissertation offers two premises. First, there is a deep history of relationships between power, horsemanship, and constructions of masculinity in modern Mexico. Second, because of this history, Mexicans in various eras and situations have depended on rural equestrian costumes, identities, and traditions to influence, interpret, and navigate the world around them. Part 1 of this dissertation consists of three chapters and provides an overview of the development of Mexican equestrian customs and the ways that Mexicans in colonial, independent, and revolutionary Mexico used horsemanship to make their lives meaningful, central, and sustainable. Part II, composed of five chapters, shifts to a discussion of the emergence of the equestrian sport community of organized charrería and the way that organized charros continued the practice of transforming Mexico’s equestrian past into a form of strategic cultural capital. Post-revolutionary organized charros, cognizant of the rich equestrian history they had to draw upon, used the idea of Mexican horsemen’s historic contributions in order to claim relevance in post-revolutionary Mexico as the heirs and latest representatives of that historically-significant equestrian tradition.